diumenge, 23 d’octubre de 2016

RIGATTI, Giovanni Antonio (c.1613-1648) - Mass for the Feast of the Purification

François de Nomé called Monsù Desiderio - Venice, from the Bacino di San Marco
Obra de François de Nomé (c.1593-c.1644), pintor francès (1)


- Recordatori de Giovanni Antonio Rigatti -
En el dia de la commemoració del seu 368è aniversari de decés



Parlem de Pintura...

François de Nomé (Metz, c.1593 - Napoli, c.1644) va ser un pintor francès actiu principalment a Nàpols i identificat amb el nom de Monsù Desiderio. Nascut a Metz en una data desconeguda, ben aviat va abandonar la seva ciutat per a traslladar-se a Roma en companyia del pintor flamenc Balthazar Lauwers. El 1610 es va traslladar a Nàpols on va treballar al taller del pintor Louis Croys per poc després casar-se amb la filla del seu mestre. Pel que sembla, a partir del 1617 va començar el seu treball com a pintor independent amb obres de caràcter religiós si bé ràpidament es va especialitzar en vistes urbanes i ruïnes arquitectòniques de caràcter fantàstic les quals van assolir gran èxit i demanda per un públic divers. Aquests paisatges sovint van presentar característiques impròpies de l'època amb tonalitats obscures i tètriques, formes a vegades surrealistes i paisatges decrèpits i apocalíptics. Es creu va viure a Nàpols la major part de la seva vida per la qual cosa la seva mort, incerta, es va situar en aquesta ciutat a l'entorn del 1644. 

Font: En català: No disponible En castellano: François de Nomé (c.1593-c.1644) In english: François de Nomé (c.1593-c.1644) - Altres: François de Nomé (c.1593-c.1644)



Parlem de Música...

Giovanni Antonio Rigatti (Venezia?, c.1613 - Venezia, 24 d'octubre de 1648) va ser un cantant i compositor italià. El 1621 va entrar com a cantant del cor de San Marco a Venècia per més tard rebre formació al Seminari Patriarcal. Des del 1635 fins el març de 1637 va ser mestre de capella a la Cattedrale di Santa Maria Maggiore d'Udine on havia substituït a Orindio Bartolini. A partir de l'agost de 1639 va ser nomenat maestro d'organo e musica alle figliole a l'Ospedale dei Mendicati de Venècia. A partir del 1642 va començar. també, a donar classes a l'Ospedale degli Incurabili. Allà va tenir nombrosos alumnes entre els que van destacar Francesco Lucio. El 1642 va ser nomenat capellà al servei de Gian Francesco Morosini, patriarca de Venècia i procurador de San Marco. Poc després va morir a Venècia l'octubre de 1648.

OBRA:

Vocal secular:

Musiche concertate cioe madrigali, 2–4vv, bc, libro I, op.2 (1636); 1 duet ed. in Whenham
Musiche diverse, 1v, bc (1641) [incl. 1 dialogue, 2vv]

Vocal religiosa:

Primo parto de motetti, 2–4vv, con alcune cantilene, con suoi ripieni ad lib (1634)
Messa e salmi parte concertati, 3–8vv, 2 vn, other insts ad lib, e parte, 5vv (1640)
Messa e salmi ariosi, 3vv, concertati e parte con li ripieni ad lib (2/1643)
Motetti, 1v, bc (1643)
Salmi diversi di Compieta … 1–4vv, parte con istromenti e parte senza, con tutte le antiphone dell’anno (1646)
Motetti, 1v, bc (org/hpd/theorbo/other inst), libro II (1647)
Motetti, 2–3vv, con una messa breve (1647)
Musiche diverse, 2vv, bc (1647)
Messa e salmi, 3vv, con 2 vn, 4 parti di ripieno ad lib, libro II (1648)
2 ps repr. in 16464; 1 mass repr. in 16711
12 motets in 16464, 16491, 16531, 16593, S-Uu, F-Pn; other motets in USSR-KA; 1 mass in S-Uu; 2 ps in D-W, PL-WRu

Font: En català: No disponible En castellano: No disponible In english: Giovanni Antonio Rigatti (c.1613-1648) - Altres: Giovanni Antonio Rigatti (c.1613-1648)



Parlem en veu pròpia o en veu d'altri...

The high esteem in which he was held at Udine while still in his early twenties is entirely consistent with his being, together with men such as Giovanni Rovetta and Gasparo Casati, one of the outstanding Italian composers of church music working in the 1630s and 40s. Nine of his eleven surviving collections are of church music: two books of solo motets, three of small-scale concertato motets (one including a messa breve) and no fewer than four of psalm settings (three including a mass each). Most of this music includes parts for obbligato instruments, usually violins, and much of it is adaptable, either to an intimate chamber-like medium with solo voices and perhaps violins, or to grander occasions by the addition of a ripieno chorus and sometimes extra instruments. The 1640 Messa e salmi, dedicated to the Emperor Ferdinand III, is the most impressive collection. It maintains a consistently high level of invention and rivals Monteverdi’s Selva morale of the same year in its comprehensive range of contents: one mass and several psalms in the grand concertato manner, psalms for smaller combinations of voices and instruments, and others marked ‘da cappella’ (denoting not the stile antico but the absence of soloists and the instrumental doubling of voices). No matter how grand a texture he was writing for, Rigatti as a monodist was always capable of gracing his music with delightful, memorable melodies, vocal or instrumental (his violin ritornellos are often most attractive). This talent can be seen at its best in the second setting of Nisi Dominus (for SSB, two violins and continuo) in the 1640 volume. 

It is built almost entirely on a descending four-note ground bass (cf the love duet at the end of Monteverdi’s L’incoronazione di Poppea). Its quite romantic expressiveness derives not only from the incredibly varied melodic writing over the anchoring bass, but also from the many tempo and dynamic changes specified by Rigatti himself and integral to his personal style – such markings are often found in his works. His church music is as inventive in other ways, for example in its coherent musical structures involving refrains, ritornellos and ground basses, in the occasional use of fugal exposition and in the often dramatic word-painting, which led him to introduce a ‘toccata da guerra’ in the stile concitato into the ‘Fecit potentiam’ verse of the Magnificat in the 1640 volume. His small-scale Compline setting of 1646, probably written for the Patriarchal household, contains some of his finest music, including a setting of the psalm Cum invocarem for alto and four strings, which is remarkable not only for its length and the virtuosity required of the singer, but also for the expressive word-setting and sense of structure. Ground basses are found too in the secular monodies of 1641; this volume also includes three cantatas – two examples of the now increasingly old-fashioned strophic-bass cantata and one of the new kind of chamber cantata in several contrasting sections, to words from Guarini’s Il pastor fido. The madrigals of 1636, many of which probably date from his late teens, are Monteverdian in manner and include luscious duets, a canzonetta and a piece using the romanesca bass. They demonstrate his melodic gift and talent for expressive word-setting, especially in the trio Ecco che pur baciate, and show clearly why even in his early twenties he was known in Udine as one of the finest musicians of the Veneto.

GROVE MUSIC ONLINE (source/font: aquí)

Gaudiu i compartiu! 



Informació addicional... 

INTERPRETS: Vancouver Cantata Singers; James Fankhauser
AMAZON: A 1640 Venetian Mass
SPOTIFY: No disponible



Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

3 comentaris:

  1. Un administrador del blog ha eliminat aquest comentari.

    ResponElimina
  2. Saludos amigo Pau,
    Muchas gracias por tu generosidad y las joyas musicales, observa tu correo.
    Abrazo fraterno
    Yehu

    ResponElimina
  3. merci beaucoup pour ce moment de musique

    ResponElimina